Author: thehorsesheadblog

#29) Gone with the Wind (1939)

OR “Dixie Chicks”

Directed by Victor Fleming (and a few uncredited directors)

Written by Sidney Howard (and many many script doctors). Based on the novel by Margaret Mitchell.

Class of 1989

UPDATE: This is the original version of my “Gone with the Wind” write-up. The revised and expanded version goes into more detail. Much, much more detail.

The only decent trailer I could find comes from the 1961 re-release, commemorating the Civil War’s centennial.

The Plot: Set against the Civil War and its aftermath, “Gone with the Wind” tells the story of spoiled Georgian plantation daughter Scarlett O’Hara (Vivien Leigh), who pines over her neighbor Ashley Wilkes (Leslie Howard). When she learns he is to marry his cousin Melanie (Olivia de Havilland), she becomes jealous and accepts Melanie’s brother’s proposal out of spite. Houseguest Rhett Butler (Clark Gable) witnesses all of this and immediately sees through Scarlett’s games. What follows is a decade-long bout of sexual tension between the two, as well as Scarlett’s riches-to-rags-to riches story.

Why It Matters: The NFR calls it “the definitive example of filmmaking in the Hollywood studio era” and praises the cast as well as Max Steiner’s score. There’s also a loving essay by author and film professor Molly Haskell.

But Does It Really?: For its technical achievements, absolutely. This is one of those epic “no expense spared” films, and it shows. For cultural impact, it’s also a definite yes. Practically every shot in this film is iconic, some of it still quite powerful. But as entertainment, like so many of the old classics, it’s just fine. Not an awful film by any stretch, but kinda hard to justify a 4-hour runtime. That being said I was drawn to both Gable and Leigh. Their characters are both awful people, but the two of them give compelling, conflicted performances that draw you in. The film will always be a classic, but I wouldn’t be surprised if future generations don’t revere it as much as filmgoers past.

Everybody Gets One: Worth noting are appearances by Leslie Howard, Butterfly McQueen and future Jack Benny staple Eddie “Rochester” Anderson. Pretty much everyone else in this film is best remembered for being in “Gone with the Wind”.

Wow, That’s Dated: Process shots for stuff that doesn’t require it, like dancing or running.

Title Track: The film’s title appears only once, during the opening crawl as a metaphor for the end of an era. The title appears only once in the novel as well, but in a much less flowery way.

Seriously, Oscars?: After earning a record-breaking 13 nominations, “Gone with the Wind” won a record-breaking 8 Oscars; including Picture, Director, Actress (Leigh), and Adapted Screenplay. Supporting Actress Hattie McDaniel’s win is most noteworthy; it was the first time an African-American won an Oscar, let alone was nominated. And this was 1940! Max Steiner’s iconic score lost to the equally iconic “The Wizard of Oz”. The “Gone with the Wind” juggernaut was such a foregone conclusion that first-time emcee Bob Hope opened the ceremony by calling it a “benefit for [GTTW producer] David Selznick”.

Other notes

• This is my first roadshow picture! Big prestige pictures in the studio era were released as roadshows and treated like a play or an opera; reserved seating, fancy programs, and an intermission. What a time to go to the movies.
• Special mention to Olivia de Havilland: In the hands a lesser actor Melanie could have been too goody-goody, but de Havilland (as she does in so many of her films) gives Melanie a quiet inner strength that helps hold the film together.
• Also worth mentioning is Hattie McDaniel’s work as Mammy. I’m not going to try to defend the type of stock character she plays; all I will say is that within those confines, McDaniel is giving the kind of good, steady performance that the Academy tends to ignore. I’m glad they didn’t.
• Geez, David Selznick’s name is all over the credits of this film. Clearly we know who the muscle is.
• Yes, let us be wistful for the days of “master and slave”. [Deep Exhale]
• This film features a man named Leslie playing a man named Ashley.
• Speaking of, either native Englishman Leslie Howard is attempting a Southern accent and failing, or he’s not attempting one at all. I honestly can’t tell.
• Yes, the sweeping romanticism of marrying your cousin. Cue the Steiner!
• Oh don’t worry; clearly the O’Hara’s were the “good kind” of slave owners. [Even Louder Deep Exhale, Mixed with Eye Roll]
• Butterfly McQueen, ladies and gentleman. Please read up on her actual life, she’s much more interesting than Prissy.

• Melanie is having the calmest childbirth in the history of film.
• I must admit the burning of Atlanta is still thrilling.
• Love that intermission music. Sounds like an all-skate. Everybody on the rink!

• Oh no, a Union soldier! Boo! Or…yay! I’m so confused right now.
• This film was made the same distance from the Civil War as we are currently from World War II. Think about that, won’t you?
• Ultimately, this is a Rolling Stones movie; Scarlett doesn’t get what she wants (Love from either man she desires), but she gets what she needs (an inner sense of self, and just as important, the land, Katie Scarlett, the land).
• Oh geez, I got so caught up in the historical whitewashing I didn’t even cover the marital rape that happens in this film. Goddamn you, “Gone with the Wind”.

Legacy

• Margaret Mitchell vowed never to write a sequel to “Gone with the Wind”, but that didn’t stop her estate after a grace period. The novel “Scarlett” came out in 1991 and was met with very negative reviews. It was adapted into a TV mini-series in 1994.

• An attempt to musicalize the novel opened in Japan in the ‘60s and went on to be one of the biggest musical flops of modern theater.
• This film is responsible for the funniest costume/punch-line combo in sketch comedy history (although the sketch wins no points for racial sensitivity).

• The search for an actress to play Scarlett O’Hara was so dramatic in its own right it eventually became a TV movie starring Tony Curtis.

• “Gone with the Wind” has helped fan the flame of Confederate pride over the years, so let’s blame this film for “Dukes of Hazzard”.

• And of course;

Further Viewing: Gone with the Wind…with Vampires!

#28) Rushmore (1998)

OR “Go Wes, Young Man”

Directed by Wes Anderson

Written by Anderson & Owen Wilson

Class of 2016

Original Trailer (PS: The film’s website doesn’t work anymore)

UPDATE: This is my original write-up of “Rushmore”. Read my updated and revised version here.

The Plot: Max Fischer (Jason Schwartzman, in his film debut!) is an underachieving student/overachieving everything else at Houston’s prestigious Rushmore Academy. In the fall of his sophomore year new teacher Rosemary Cross (Olivia Williams) joins the faculty and Max immediately takes notice. He starts to woo her, and she emphatically, but good-naturedly, rebuffs him. Around this time Max befriends local industrialist Herman Blume (Bill Murray) who also takes a liking to Rosemary. What follows is a bizarre love-triangle, followed by the culture shock when Max is expelled from Rushmore and has to go to public school for the first time.

Why It Matters: The NFR calls the film “a cultural milestone of Gen X and millennials” and praises the film’s “heightened reality”.

But Does It Really?: He’s only done eight films, but Wes Anderson has already made his mark on American film. It’s fun to watch this, only his second film, before you could start checking off boxes on your “Wes Anderson Bingo” card (I feel that kicks in around “Life Aquatic”). What Wes Anderson gives us here is a touching, funny, stylized but somehow still real look at the men who are children, and the children who are men.

Shout Outs: Anderson and Wilson have cited such NFR entries as “The Graduate” and “Harold and Maude” as influences on “Rushmore”. Be on the lookout for quick references to Schwartzman’s uncle’s films “The Godfather” and “Apocalypse Now”.

Everybody Gets One: Wes Anderson staples Jason Schwartzman, Brian Cox and Luke Wilson, as well as Olivia Williams. Plus that’s Alexis “Rory” Bledel as one of the students at Grover Cleveland High.

Wow, That’s Dated: Hard to find, what with Wes Anderson’s slightly dated style, but eagle-eyed viewers will notice such ‘90s things as tape recorders, desktop computers that take up a whole table, and people using taxi cabs as transportation.

Take a Shot: At long last, I found a film whose title makes a good drinking game. References to Rushmore come fast and loose in the beginning, but after that things level off and you get one every 10 minutes or so. Not too often, not too sparse, just right. Enjoy responsibly.

Seriously, Oscars?: Despite being a critical darling and winning a good number of precursor awards (including two Independent Spirit Awards), “Rushmore” was completely shut out at the 1998 Oscars. Bill Murray would have to wait five years and work with another Coppola to finally get his due. Anderson and Wilson would get their first nomination with their next project, “The Royal Tenenbaums”.

Other notes

• A few notes on the people who helped make “a Wes Anderson film”; cinematographer Robert Yeoman has worked on all seven of Wes’ live-action films. He earned his first Oscar nomination for “The Grand Budapest Hotel”. Production designer David Wasco worked on the first three films, then moved on to many noteworthy projects, recently winning his first Oscar for “La La Land”. Costume designer Karen Patch worked on the first three films and still costumes regularly, most recently for “Pee-wee’s Big Holiday”. Composer Mark Mothersbaugh worked on the first four films and is probably best known as the lead singer of Devo and for composing this earworm.
• Do kids still do Model UN anymore?
• I’m always amazed at Bill Murray’s ability to give us his usual “Murrayisms” but still be totally within the style of a Wes Anderson film. What this performance must have looked like for people who were used to seeing Bill Murray in crap like this.
• The best line in the film; “In summation, I have only one question: Is Latin dead?”
• That’s legendary “Simpsons” writer Wally Wolodarsky as the referee when Max watches/participates in the wrestling team. Anyone know how he ended up in the film? The credits mention thanks to James L. Brooks. Connection or coincidence?
• One of my favorite things about “Rushmore” is Wes Anderson’s sense of setting. Most of this film’s dialogue could be taking place with two people sitting across a table and talking, but Wes and Owen Wilson open everything up. For example; the scene where Max pitches Herman the aquarium takes place while Herman is going through his routine inspection of his factory. And when in doubt, set your scene outdoors. Herman giving Rosemary Max’s letter takes place in an outdoor painting class, which gives us the great image of Bill Murray hiding behind a tree. A+ choices all around.
• Sneakers are an interesting choice of shoes for Max. I guess I had him pegged as a loafers guy.
• “I Am Waiting” must be the cheapest Rolling Stones track to get the rights to.
• Speaking of the soundtrack, “Oh Yoko”? Okay then…
• I do enjoy Seymour Cassel in this film as Max’s father Bert. For some reason I always thought he was French (maybe the last name) and that he just does a solid American accent. Turns out he’s from Michigan. We’ll see more of him on the Registry when I start watching John Cassavetes.
• Ah, that point in the ‘90s when we could really start to make fun of Vietnam. Good times.

Legacy

• Well, Wes Anderson. Isn’t that enough?
• Bill Murray: Act II
• Owen Wilson would give up his screenwriting career to voice a talking car.

• At one point Max is reading “Diving for Sunken Treasure” by Jacques Costeau. Now don’t you get any ideas, Wes.

Further Viewing: The best Wes Anderson spoof made so far, SNL briefly dug itself out its post-Wiig, pre-2016 election slump to bring us the expertly made “The Midnight Coterie of Sinister Intruders”.

#27) Edison Kinetoscopic Record of a Sneeze (1894)

OR “The Right Snuff”

Directed by William K.L. Dickson

Class of 2015

The whole film, courtesy of the Library of Congress

The Plot: The harrowing true story of a journalist and a photographer trapped in Cambodia during the Khmer Rouge regime…no, wait, that’s “The Killing Fields”. This film is just some dude sneezing.

Why It Matters: The NFR cites the film’s representation as “the invention of the movies” and goes into the film’s history and preservation.

But Does It Really?: Purely as film, yes. And I don’t mean film as in a movie, I mean the actual physical film itself. It is the first baby step in what we now know as cinema. I’m genuinely surprised that it took the NFR 26 years to add “The Sneeze” to the Registry.

Everybody Gets One: A brief note on Fred Ott; a respected surgeon and gynecologist in his native Cambodia…no, wait, that’s Dr. Haing S. Ngor from “The Killing Fields”. Fred Ott was just some dude who worked for Edison.

Other notes

• For God’s sake Fred, cover your mouth!

Legacy

• This is technically the first snuff film. Thank you!
• Since it’s in the public domain, this is a handy clip to have in your “Great Moments in the Movies” montage.
• Fred Ott followed this film up with “Fred Ott Holding a Bird”. Unfortunately, early cinema audiences recognized an inferior sequel when they saw it, and avoided that film in droves.

• Director William K.L. Dickson went on to invent the mutoscope and direct the short “What the Butler Saw”, possibly the first film whose goal was pure titillation.

• This film has been remade several times, most notably as “That Scene in ‘Annie Hall’ Where Alvy Sneezes on the Cocaine”.

• Thomas Edison would go on to steal some of the world’s greatest inventions.

Listen to This: The National Recording Registry has several Edison recordings, but one of its most unique is a cylinder recording for a talking doll the Edison Company made in 1888. You can listen to the doll’s rendition of “Twinkle Twinkle Little Star” here, and then have fun trying to go to sleep tonight. Also be sure to check out the Library of Congress’ catalogue of Edison Picture and Sound Recordings.

#26) Rosemary’s Baby (1968)

OR “Mama Mia”

Directed & Written by Roman Polanski. Based on the novel by Ira Levin.

Class of 2014

This is my original “Rosemary’s Baby” post. You can read the revised and expanded version here.

The film’s very ’60s trailer

The Plot: Rosemary (Mia Farrow) and her husband Guy (John Cassavetes) move into an apartment building in New York City. While still settling in, a tenant commits suicide, and while gathered around the body Rosemary & Guy meet their neighbors, the elderly couple Roman & Minnie Castevet (Sidney Blackmer & Ruth Gordon). Shortly afterwards, Rosemary learns she is pregnant, and the Castevets start getting very nosy about the baby. As the months go on, Rosemary starts to figure out what’s happening in the apartment building, and the paranoia sets in. To say anything more would be, well let’s just say, a sin.

Why It Matters: The NFR hails it as “a masterpiece of the horror-film genre” and praises Polanski and the cast.

But Does It Really?: So I don’t usually do horror movies, but I was literally on the edge of my seat with this one. It takes its time to get started, but when it does, “Rosemary’s Baby” is quite the ride. Mia Farrow is pretty much flawless, and she and Polanski keep you in suspense the whole time. As with any great horror film, it’s not about what they show, but rather what they don’t show that creates terrific suspense.

Everybody Gets One: Amazingly, despite a nearly 50-year career in film, this is Mia Farrow’s only appearance on the Registry. And although he will appear many times as a writer and director, this film marks John Cassavetes’ single acting appearance on the list. Also noteworthy is an early film appearance by Charles Grodin (Though I expect “Beethoven” will show up sooner or later).

Wow, That’s Dated: Well that party Rosemary throws with her friends is pure 1966. Also very dated is the idea that a struggling actor and a housewife could afford a spacious Manhattan apartment.

Seriously, Oscars?: The film only received one Oscar: Best Supporting Actress for Ruth Gordon (Presented to her by Donald Baumgart himself!). As much a lifetime achievement award as it was for her performance, Ms. Gordon gave the ceremony one of its best acceptance speeches. Roman Polanski was snubbed for directing but did get an Adapted Screenplay nomination, losing to “The Lion in Winter”. Perhaps because she was Hollywood’s latest pretty young thing, Mia Farrow’s performance was overlooked. She has yet to be nominated. I’d also like to give special mention to Sidney Blackmer, whose performance should have made it to Best Supporting Actor.

Other notes

• Rosemary mentions that Guy appeared on Broadway in “Luther” and “Nobody Loves an Albatross”, two actual plays from the early ‘60s that played around the same time. Also in the cast of the latter was Phil Leeds, who plays Dr. Shand in this film. It’s a conspiracy!
• Why is everyone in the first 10 minutes dubbed? I understand for the on-location shots, but in the apartment too? If they’re going for unsettling, they did it.
• This film partially takes place during Pope Paul VI’s visit to New York. It’s fun to think that this film is happening at the same time as “The House of Blue Leaves”.
• Mia Farrow is excellent in this, and I can’t help but think that if her career had gone a slightly different way, she would have made a great Honey in “Who’s Afraid of Virginia Woolf?”
• That dream sequence is amazing. It perfectly conveys that stream of consciousness feeling as you drift in and out of sleep. A+ to everyone involved.

• It’s also fun to think that at one point in 1968, you could see Maurice Evans in this film as Hutch, and at the same time go see him play a giant talking orangutan.
• Speaking of the cast, it’s nice to see Ralph Bellamy in a role where he’s not losing his girlfriend or fiancée to Cary Grant.
• I hope that this film did for Scrabble what “E.T.” did for Reese’s Pieces.
• I appreciate that most of this film, especially the end, is shot from Rosemary’s point of view. Most horror films today do more shots towards the victim, giving everything a voyeuristic lens. Having it all be from Rosemary’s perspective is much more satisfying.
• There’s only one Japanese character in the whole film and all he does is take pictures? Oy.
• After doing some research on the film’s production, all I can say is “Fuck you, Sinatra”.

Legacy

• Two unrelated sequels; a sequel to the book that negates everything from the original, and a TV movie sequel to the film that no one asked for.

• “Rosemary’s Baby” is responsible for the rise in The Devil’s acting career; from “The Exorcist” to “The Omen” to that comedy album he did with Flip Wilson.

• The first season of “American Horror Story” definitely took a thing or two from this film.

• Don’t worry; they remade this for TV with Zoe Saldana.

• The completely unconnected but identically titled episode of “30 Rock”. (That’s twice I’ve referenced that specific episode on this blog. It’s that good!)

• Writer Ira Levin wrote several other novels and plays that circled around Gothic Horror, but none that were as successful as this one (though some would make a case for “The Stepford Wives”). I personally have a soft spot for his play “Deathtrap”.
• And after the release of this film, everything worked out A-OK for Roman Polanski.

Thank you, Robert Osborne, for your love of the movies and for sharing that love with future generations. We’ll pick up the torch from here.

Read the Hollywood Reporter’s obituary here. And click below to watch his introduction to one of my favorite films.